"Redshift: Concerto for Trumpet and Wind Ensemble written by Brett William Dietz, an Associate Professor of Percussion at the Louisiana State University School of Music, proved to be a real show piece for principal trumpeter Brian Shaw. It combined classical and jazz elements, along with an industrial sound reminiscent of the Dadaist school of music Mécanique of the 1920s. Three extended cadenzi gave Shaw plenty of opportunity to show his mastery of technique and accuracy with stratospheric notes." - Gregory Sullivan Issacs, theaterjones.com.

 

''Headcase is effective, cathartic and in the last analysis, hopeful. It can also be listened to as a glorious collection of sounds." - Christopher Hyde, The Portland Press Herald.

 

"Bolstered by a keen sense of large-scale pacing (Headcase), rhythmic interplay and adept use of multimedia, Dietz's discloser - - like the best pop, folk, country, hip-hop, etc. - - transformed his personal story into a universal one.  New music devotees, as well as those whose lives have been touched by the menace of a stroke, should hear Dietz's transporting work."  - Andrew Druckenbrod, Pittsburgh Post Gazette.

"The concert was really good except for the last piece.  I can't stand that 'angry white boy music!'" - Some guy at breakfast the next morning after Garage Band was performed at the 24th Annual Tuba/Euphonium Conference in Washington, D.C..

"Headcase does more than tell Dietz's story.  The work combines live musicians with taped music and electronic effects, plus graphic images of Dietz's damaged brain and herky-jerky incursions of his own distressed voice as he struggles to regain clarity and indeed his own sense of self.  The skillfully calculated sum draws listeners into an unbalanced, high-anxiety place that is more than uncomfortable - - it is alarming." - Lawrence B. Johnston, The Detroit News.

(Metamorphosis) a beautiful, powerful, thoughtful, challenging, and intelligent piece." - Christopher Deane, Associate Professor of Percussion, University of North Texas.

"(Headcase is) haunting and powerful - a remarkably sophisticated score that blends words, music and visual displays to touch the heart and mind." - Pittsburgh Tribune Review.

"His music seems to be getting more and more schizophrenic." - Overheard in a conversation after one of my pieces (Exit Wounds) was performed at PASIC.

"I want to thank you for your marvelous performance of my demanding percussion trio, Catfish.  The time was rock-solid, the balance was perfect, and the sense of ensemble was ideal.  It was an engrossing, deft, nuanced, and sensitive performance and I am grateful to you and your students for preparing so carefully (and with seeming ease). - Mark Applebaum, Associate Professor of Composition, Stanford University.

"Through his use of musical modules, Dietz has crafted a work from musical "building blocks" where anyone can easily identify its architecture and enjoy the process of its construction through the course of performance.  It also grooves really hard." - Colorado State University Press

"Thank you so much for coming to the University of Louisiana at Monroe and giving a masterclass to my students.  Your artistry in performance was exactly what I wanted my students to see.  It is wonderful to be able to expose them to such playing by bringing in an artist from our home state." - Mel Mobley, Assistant Professor of Percussion, University of Louisiana at Monroe.

"'Shadows' is for keyboard quartet and multi-percussion solo, which is virtuosically performed by Dietz.  The LSU Percussion Ensemble handles Leonard's music with energy, sensitivity, and professionalism, and we are fortunate to have such a fine representation of this influential percussionist's (Stanley Leonard) music. - Scott Herring, Percussive Notes.